This approach to memory and diaspora is inseparable from the artist’s own life. Liza Camilo was born in New York City to immigrant parents—her mother from Cuba, her father from the Dominican Republic. She spent her childhood in Lucas, Texas, a small town of just under ten thousand residents, where she developed an early sensitivity to landscape and light. At twenty she returned to New York, where she spent thirteen years working in the fashion industry as a business analytics expert for Liz Claiborne and Ann Taylor. While her work was analytical, it offered an insider’s view of how creative vision and data intersect to shape trends and narratives—an understanding that would later infuse her photographic practice.

In 2007, after marrying, she moved to Columbus, Ohio, where she began to nurture her passion for photography in earnest. Her father, an avid photographer, had instilled in her the habit of capturing moments long before the digital era—whether on trips to Morocco or Mexico or simply at home. While raising four children, she took photography classes at community centers and local studios, building a self‑taught foundation that eventually led her to Cuba in 2015. There, she fell in love with the island’s vibrant colors, its layered history, and the vitality of its culture. Inspired by that connection, she founded Click Photography Tours, leading groups of American travelers through Cuba while capturing its beauty through her own lens.

The global pandemic of 2020 brought that enterprise to a pause but also opened new doors. Relocating to South Florida allowed her to immerse herself in the local art scene, enrolling in advanced photography courses at the Boca Raton Museum of Art School. Since then, her work has been shown in galleries, festivals, and exhibitions, earning significant recognition: first place in photography at the Beaux Arts Festival in both 2023 and 2024, and second place at Carnaval on the Mile in Coconut Grove in 2025. Her work was also featured in Cuba Plus magazine, Volume 61.

Her exhibition history is equally telling. In 2022, she participated in the group show Ni de aquí, ni de allá at Mansión Castillo in Havana. The following year she presented her first solo exhibition, 60.4720°N, 8.4689°E, at Fábrica de Arte Cubano, centered on a ballerina in the heart of Cuba. That same year, she exhibited in a group show at BSIDE Gallery in Melbourne, Australia, and closed the year with her participation in the Havana Biennial at the Teatro Nacional, in the collective exhibition Descendencias. This trajectory not only speaks to her commitment to the visual arts but also to her capacity to transform migration and memory into poetic images of enduring resonance.

For Liza Camilo, photography is like reading a novel without words—capturing a moment that continues to unfold, revealing something new with each viewing. It is her form of self‑expression, a way to capture not only what is seen but also what is felt. Every click of the shutter holds a fragment of her heart, a dialogue between her own story and the stories of those she portrays. Though she explores a wide spectrum of genres and styles, she feels a special affinity for architecture, travel, and portraiture, and in recent years has ventured into surrealist photography, expanding her visual language still further.

Within this exhibition, that language converges in a subtle mapping of the Cuban diaspora, where everyday spaces—doorways, improvised altars, weathered objects carried from one shore to another—become signs of permanence and transformation. More than silent witnesses, these images stand as gestures of resistance and reinvention, revealing the strength of an identity constantly remade through memory, migration, and imagination.

Liza Camilo offers, in this way, a living archive of memories in transit: a body of work that spans the personal and the collective, the dreamed‑of island and the city inhabited, what has been lost and what is found again every time we look.